Despite several stumbling blocks along the way, the UMass Theatre Guild’s spring production of “Firebringer” was a success thanks to the production’s strong crew, adaptable cast and impeccable comedic timing.
“Firebringer” is a comedy musical that follows a prehistoric tribe, led by their strict yet efficient leader Jemilla. When the rebellious Zazzalil defies Jemilla’s orders, she accidentally creates fire and the tribe must learn how to use the new element and the power that comes with it.
The first issue was the costumes. In the original production, the costumes feature feathered headdresses and turquoise, which are traditionally associated with Indigenous culture, cultural connections that are neither reflected in the script, nor are they accurate to the prehistoric era in which the musical is set.
In order to remove these connotations, the Guild’s production crew met with a professor specializing in Indigenous theatrical studies. “She advised us to consider what the characters would have access to based on their stage in development, environment, and character traits,” explained producer Rena Marthaler.
The second issue arose with Chorn, a character that was played not by one actor, but three over the show’s run. Chorn was initially set to be played by Lucy Bunnage who, though eventually able to return to the role for closing night, was too sick to perform the first four shows. After director Anna Kefalas covered the opening night performance, the guild appointed actor Ryan Carrigan, who was already casted to play three minor characters.
Carrigan was more than willing to take on the role, exceeding even the Guild crew’s expectations in his performance of both Chorn’s big monologue and song, which the production team had instructed him to just read off of his phone. Marthaler explains that when the scene arrived: “[Carrigan] walks out on stage, no phone, and performs the whole monologue. Our jaws are like on the floor. And then he performs the whole song completely memorized.”
The delight of “Firebringer” lies in its charming and idiosyncratic characters. Karahlyn Dupras is magnificent as Zazzalil, perfecting the character’s erratic mannerisms, numerous tone shifts and comedic timing. Cassie Passias’s performance of Jimella is Dupras’s opposite, bringing an understated energy to the character that only makes her departures from this funnier. When the second act culminates in not only reconciliation of the two but a surprise lesbian relationship, it feels right for the quirky protagonists.
Besides the two lead roles, the entire supporting cast shines, each with their own character quirks, like Schwoopsies invention of humor and Smelly Balls’s overeagerness, that complete the ensemble.
The Black Box Theater is a staple of UMass Theater Guild’s productions, creating an intimate space that forces the actors to improvise. In the first Saturday show, the pulley system that was tasked with lifting the duck, the tribe’s God, into the sky wasn’t working properly. The duck dropped to the floor mid-show.
“It just fell; it just plummeted right to the ground,” Marthaler said. “And it looks like a duck corpse on the ground. And the characters, you know, obviously, they acted devastated. They were crying and screaming that the duck was dead.” Moments like this, symptomatic of the small theater environment, makes each and every show unique.
Amidst the silliness of the script, the music brought out the heartfelt energy of the musical. The actors’ voices skillfully blended together to create the gorgeous sound of “Firebringer,” full of lively melodies and powerful vocals. Marthaler explains the music as a sound bath, pairing marimbas, keys, bongos and these gorgeous harmonies together. “Firebringer” is somehow able to pull off powerful ensemble numbers, songs about their Duck Lord and romantic power ballads, all within one production.
